The self-produced debut album from New York’s homegrown talent Blu DeTiger is exactly what you’d expect – combining relatability with danceability.
In the follow-up of her 2021 EP ‘How Did We Get Here?’ as well as an abundance of singles DeTiger returns with a huge 14-track album starting with a prologue of sorts ‘Intro to Everything’, which transitions into ‘Latency’ isn’t necessary in the running order of the album. Of course, it establishes the protagonism of the bass, and maybe a few notes reminiscing tracks on the album – but we don’t know that yet and it has a sort of ethereal vibe that gives the listener a false sense of what the album is about.
However, track two – ‘Latency’ is a standout number. Beginning with a recognisable drum pattern – from tracks like ‘Young Folks’ by Peter Bjorn and John. But the contrast between her high-pitched vocals and low-toned bass works together to catch the listener off guard, it’s not something you hear too often. The quirkiness of the bass is at the forefront of the tracks leading you into a new soundscape, but with flashes back to groovier times like the 70s disco scene.
Another track that begins with a catchy drum pattern and aligns itself as another standout track is ‘Sad Girl Machine’. Its bassline is like one of Thundercat’s, making it an instantly classic bass tune.
Despite the sophistication of the basslines – which are rightfully the key to this album, the lyrics are still missing a slight maturity. Being the debut album for this twenty-something-year-old, it’s not enough of a drawback that you can’t still enjoy the boppy tunes.
Tracks like ‘Imposter Syndrome’, although more intimate are not the album’s strong point like ‘Moxie’, ‘Kiss’ and ‘Dangerous Game’, which show DeTiger’s authentic sound – the relationship between the bass and drums is clear and strengthened by the relationship between Blu and her brother Rex – the perfect pairing a band could ask for.
Overall the album is a good debut, however there is definitely room left for DeTiger to grow.
